Storyboard for movie - write up version (The Matrix Bullet time scene)

Here I am writing up a simple storyline for the bullet dodge sequence in the Matrix. This is one of the most famous scenes from this movie. I will turn this into a drawn storyboard and post it up on here.

The Matrix “Bullet time” clip

Start

• Scene starts where Agent Smith states that Neo and Trinity must be found and destroyed. “Find them and destroy them”.

• Agent Smiths co agent hears his duty and then the scene cuts to a fight between Neo, Trinity and the police on top of a Helicopter pad.

• The fight pursues until we see a Helicopter Pilot becoming taken over by the Agent sent out to destroy Neo and Trinity.

Middle

• The scene is clear for a second once Trinity and Neo have destroyed all the police, then out steps an Agent.

• Both Neo and Trinity look on in horror at the sight of the agent, as they have nowhere to run. Neo decides to brave it with the belief that he is “the one” and turns around and starts shooting at the agent

• The Agent dodges the flying bullets with ease. Neo looks on in horror, then shouts “Trinity, help!”

End

• The Agent shoots at Neo in the famous “Bullet dodging” scene where Neo realises for the first time that he can move as fast as an Agent. A Bullet skims his leg and then he falls over.

• The agent comes up to Neo and proclaims “Only human”.

• Trinity appears behind the Agent and states “Dodge this” to then shoot the Agent in the back of the head.

Watch the scene here
 
http://www.youtube.com/watch?v=Kc4cBiSXoCs

"Evil" actor insperations

To create the "evil" appearance of the dominant Actor in my story, I am going to take different peices of insperation from seperate individuals which relate to evil in some way.

The hairline of the character should be similar to that of the recceeding hairline of Adolf Hitler, whilst still being slightly long and curled up in a typical "stuck up" Actors style.

Also refering to my previous post about "Chicken Run", the main Actor Character is based on the body shape of Mrs Tweedy. Also this body shape is similar to that of Jack from A Nightmare Before Christmas.

Mwhahaha... *thunderclaps*

Chris

Baker/Clown insperation

The design of the Baker/Clown comes from the child Characters of "South Park". Especially the small obese child named "Cartman". I find the body style to really give the impression of "waddling" along and yet still makes the character "cute" like a child.



Also notice I managed to find a youtube video which portrays Cartman as being "evil"... which also compares to the mad characteristics shown within my story.

Chris

Brainstorming sesion - final idea

Here I am, trying to decide on that final part of my minute long animation. Its been a tricky job as to find something which works logically with the story I have been conjuring up. Heres my story so far, then I will show you the ideas I have been framing together to peice my story to completion.

• Story opens with the Baker happily skipping along, knife in hand, chiseling his cakes to "perfection". He is content with his work and nothing can stop him!
• The music turns, the atmosphere changes as the Baker warps out of his reality into what he really sees: his Cakes being thrown around on stage at a theatre. He makes his Cakes only to be thrown around by Actors, this makes him feel small and useless. There is two Actors, one tall elogant character and one small chubby Clown with an uncanny resemblance to the Baker.
• Quick intense zooming in close up shots of the actors laughter and the Bakers distraught, creating a sense of madness.
• Cutt to scenes "Rocky Balboa style" of the Baker training up, as he is quite small after all and needs all the strength he can get to save his beloved creations from being destroyed.

Heres the stuff im now adding:

Ive decided to change the feel of this story. Originally, it was a comedy of typical Cartoon intention. The puns were all innocent even when comically violent. The thing is im a big fan of things that you dont want to look at, yet still have the urge to watch. Observe "Salad fingers" in one of my previous posts. It has some innocent comical approach yet is filled with obvious underlying darkness which drives a hidden moral in each short story. Therefore I have decided to disturb my audience, starting off with something which could appear amusing and innocent, yet become more twisted as the tale goes on.

Here goes...

• The Baker trains himself up ready to take on the Actors throwing his Cake around the stage, then when he becomes strong enough he "attacks" the Actors on stage. He first throws his Barbell at the tall skinny actor, who passes out (little birds flying around his head) then storms up to the second Actor and starts tackling him to the ground to get a cake off of him.
• The "dream" state that the Baker is in disolves away, and we come to find the Baker standing there onstage, harming himself crying away infront of a full audience. Behind him is the tall skinny actor laying there from where he was attacked.

The "Clown" actor is basically the Bakers own envisionment of his personal depression at his Cakes being thrown around. This whole sequence from where he jumps away from reality to train up to tackle his "beautiful creations" from being thrown around the stage is actually a moment of insanity.

I know, I know, ive taken my project to a dark level yet again...

Chris

Psycho film review

Today we watched the highly sinister, immersifying thriller "Psycho." This film was originally created in 1960 and directed by Alfred Hitchcock. It has a number of follow up films that came after it including a re-make, Psycho 2 and Psycho 3.

In this film we see a young lady named Marion Crane on a desperate getaway from the trapments of her own depriving life. Marion decides to steal the money entrusted to her by a client where she works, who beleives she is to bank this money safely for him. She devotes the idea that with the money she can marry the man she loves, Sam Loomis, and plans to live with him. On her escape to Sams house, in her guilt-ridden mindset she encounters a Police officer, who senses the panic in Marions voice. He decides to follow her to observe where she is headed to find she stops at a Car Garage to change her Car to help cover her tracks and make her harder to trace. This causes further concern to Marions intention.

In her travels she decides to stop to sleep, also to possibly become hidden away for a while as she knows she is being followed. Thus she comes across a Motel, which is ran by Norman Bates, a slightly edgy character who portrays a loneliness and desperality which we dont yet fully understand. Marions character becomes somewhat uncomfortable with this stormy air about Bates, yet manages to settle its slightly aqwuard air by convincing her perception of Bates as innocent and gentle. Surely, the stuffed animals are nothing to feel secure around, however through Bates uplifting speeches about life and his passion, he fullfills a breakthrough within the tension.

Marion is excused to her room after having supper with Bates in his room behind his office (which further increases his stalky, desperate tone) where she is preparing herself to lay her head down to sleep for the night. Bates on the otherhand, pervertedly watches her through a gap in the wall in his office hidden behind a picture before turning and walking away back to his house. Marion walks into the desolate abode which is to become her watery grave, where she is stabbed to death by an unknown entity which we see a glimpse of wearing a floral dress. Bates blames his Mother for this event and desperately tries to hide all evidence of her being there, so puts her and all her assets in the boot of her Car and drives it into a nearby ditch.

The film continues from this point, however you feel the main character still being Marion even after her death. People back from where Marion lives become aware of her disapearance due to the fact she has taken the money and somewhat become illusive to their attempts at contacting her.

Eventually we see detective Milton Arbogast, who was hired to find Marion, come across the Motel where Marion breathed her last. He comes across the anxious Mr Bates, who nervously scurries his words out as he figures out he is being interigated. Later on when Arbogast tries to investigate the house that Bates lives in, Bates "Mother" comes out and stabs him to his death. This in turn causes the other people involved in finding Marion to become suspicious when Arbogast doesnt get back in contact with them.

In the last part of the Movie, we see Marions Sister Lila and Marions fiancee Sam Loomis attempt to track down Arbogast and Marion at the Motel where they were both last reported to be present. In their attempt they find Bates at the Motel, where Sam tries to distract Bates while Lila goes on search for Bates Mother.

Lila comes across Bates "Mother", who turns out to be a corpse in the cellar of his house. Just as the figure of Bates Mother appears ready to attack Lila in her shocked state, we come to find that this person is actually Bates himself. We come to learn that Bates is psychotic and beleives he is his Mother in a split personality type behaviour condition which is caused by his own emotional distress.

Overall, this twist to the story is quite shocking, yet you somewhat feel how it fits without hesitation. It makes sense as soon as it happens because you think of the films title straight away. I beleive this story to be pretty insperational to any violent slasher/horror movie maker to come and it should always be looked upon with a grand respect.

Chris

Bouncing ball (not complete)

Heres me working on the technique of the bouncing ball.

Panning Camera

Here is my panning camera task showing the camera following the character using the rule of thirds.

Pendulum (film cutts out towards end of swing... photobucket error)

Heres my swinging Pendulum from our Maya class today. Somehow the animation has cutt itself off a bit in the upload to photobucket, but here you should get that I have built up an understanding for how it works.

Essay - Film I shall be analysing "Ginger snaps"

The film I have chosen to analyse is a brilliant teen horror film based on the metaphorical notions of puberty. This is a film based on two Sisters who look out for each other, one of whom is becoming a Werewolf. The use of sexual erotism and teenage angst helps drive the tension of the film as Ginger slowly transforms into a wild beast. The camera work is classic of horror films, the storyline keeps you on edge and interested and the editing really draws you into the movie.

 

Sleep well!

Chris

Character design concepts/expressive ideas

Heres a few of the conceptual peices I came up in trying to understand how the characters may express themselfs at key parts of my Animatic. Im sorry they havent been scanned but here they are.

• The rivalry between the Actor and the Baker.

• The Actor throwing the Cakes without hesitation.

• Bakers reaction to Cake destruction.

• Baker working out.

• The Actors.

I feel it is important to understand how the Characters shall be expressing themselfs throughout my Animation because it will help to tell the story about their roles, personalities and keep the flow of the story going fluently.

Chris

Toon talk 2 - bad guys

Indeed, my story is somewhat a "heroes and villains" style storyline. Therefore I should observe what makes a good looking animated villain, and what makes them tick. When an evil character is displayed within an animatic or in most cartoons for that matter, they tend to be rather thin, intimidating and sly. They usually have a side kick of some sort, who pathetically feels like they are to win respect or gain some of their "masters" power through working alongside them. The villains usually have elongated features and have some sense of a snakeish personality through their slender appearance, you feel wary of them yet are able to develop a sour relationship to that character. The side kicks are usually smaller and lower in some way to their masters, easily being able to be kicked down and pushed aside, however they are hardly ever replaced by someone else. The heroes typically have a heart warming freindly appearance, somewhat more baby faced or kind in some way. Their actions show a lack of selfishness and usually have a goal of some sort. In a sense the bad guys of cartoons genuinely have a motive for action too, however their initiative is through gaining power or being destructive.

Take a look at "Mrs Tweedy" from the film Chicken run. Here you will see how she over towers the over characters, carries a dark shadow over the film yet in tru cartoon fashion has a sense of humour engrained into her. I have taken insperation from her to further develop my "actors" design.

I think this sinister appearance will benifit the snooty, inwards character of the "main" actor.

Chris

Using sounds within my Animatic

To create a succesful animatic one will need to use as much as possible that brings the simplistic semi-animated images to life. One of the best way to do this is include the addition of sound. Sound manages to somewhat discretely captivate an audience or throw their emotional reactions to align with the actions of the characters involved.

The film "9" which I previously mentioned within my blog several months back includes a long introduction to the movie, throwing you into what feels like a hostile world, with no delivery of direct knowledge as to why you are within this enviroment. The introduction follows a Character that we come to know of as "9", who expresses himself through his actions and the score used within the movie. He has no ability to talk at the start of the movie so this moment relies directly on the visuals and the music/sound efects to deliver an emotional response.

I beleive there is several different sounds to be considered within my Animatic. These would be the following:

• A suitable "score" in the correct places to provoke emotional responses.
• Character voices - I could create Character voices to make the Characters become much more heart warming and individual. This could also help add to the humour delivered within the Animation.
• Direct sound effects to individual objects, for example: footsteps, splats as the cakes hit objects and whistles as they fly through the air.
• Possible background sounds such as the audience muttering in the background of the Theatre, objects creating sounds as assets to their actions.

Overall these are things to consider, which will come to be a task to establish later on in my projects development.

Chris

"In" jokes to help make story more logical... Bakers size!

As the Baker somehow needs to use the barbell to train himself up Rocky style and become a lot stronger, there needs to be something physically weak about his character. This weakness could also be behind a lot of the puns within the story itself, helping to drive it to its final outcome.

Here you can see how the Bakers size is compared to his "masterpeice" Cakes. Also compared to the other characters he shall be considerably small.

Here you can see the intimidating "slimy" appearance of the sinister cake throwing actor which is to become the Bakers nemisis within my story. Notice how the lines are used to show the characters expressions farther, and the feel of the intensity. The Baker is a close up, camera from a lower angle looking up towards the actor showing his intimidating thin snakey body towering over the baker. You can feel the rivalry between these two characters which will be the key element that drives the comedic effect of my story. This will in a sense be a "Tom and Jerry" style Cartoon, also however appearing somewhat animaniac styled like Ren and Stimpy or Itchy and Scratchy from the Simpsons.

Chris

Cutting edge

In our lecture this Morning we watched the documentary film entitled "Cutting edge", an informative description behind how editing is an important art. The principles of editing is what refines a film, brings it together and invokes the feel of the scene at hand. A successful simple cutt from one actor to another embracing in communication may work fluently by the addition or subtraction of just a few frames. Usually this art goes unnoticed to the untrained eye, yet what many dont seem to realise is that the editing is what "makes" the film. In some respects, the edit is an actor in itself.



The film includes some of the finest Directors and Editors in existance, discussing the power found behind the art of editing. The film includes the following Directors/Editors:

Zach Staenberg - Editor (The Matrix)


Jodie Foster - Actress/Director/Producer (Silence of the lambs)

Michael Tronick - Editor (The Scorpian King/Meet Joe Black)

Anthony Minghella - Director/Play writer/Screenwriter (The English Patient/The talented Mr Ripley)

Sean Penn - Actor/Director (Too many films to pick from and name!)

Walter Murch - Film Editor/Sound designer (Another master with too many to pick from!)

Quentin Tarantino - Director/Writer (Kill Bill)

Steven Spielberg - Director/Writer (E.T/Schindlers list)

James Cameron - Director/Screenwriter/Producer/Editor (Titanic/Avatar)


Within this film I came across several implications of why editing is so important, how it should be used effectively and why its such an exciting process for the visual story teller. I have created short films of my own before, usually finding the editing to be difficult without a structure planned beforehand: the editing can as a result distract away from the stories original meaning if not structured correctly. A strong editor can create the story from the acting given to him, and create a film to be smooth and run through scene to scene without visual hesitation.

Overall ive learnt a lot from this film, and funny enough I dont think i'll be seeing things the same way again!

Chris

Theatres

One of the three random subjects found in my envelope was a Theatre. Im pretty sure I know what a Theatre looks like, as ive been to many in my time, however I feel research is needed to capture the best possible design for my Animation. Examples of questions I have for myself are:

• What layout for the "audience" would work best for the camera angles to create the shots without causing too much distraction from the main subject?
• What could be included to further elaborate the humour and stylistic approach to the theatre and its assets?
• An understanding of scale in reality with relation to my Characters and how it may change slightly in their world yet still keep to referenced grounds.

Here are a few images of different styles of Theatres of which I have found on the Internet.

Here we have the Royal Shakespeare Theatre in Stratford Upon Avon, one of the most famous classical theatres in existance. I have been lucky enough to go there several times as I used to live in a nearby Village, of what I can recall the Theatre itself is set with wonderful acoustics and an overwhelming interior leaving you in a magical state of awe. As you can see, outside the Theatre towers above its surroundings yet melds into its surrounding beauty. Inside however, this beauty has immersed itself into something far more darker and enchanting, yet leaving behind the visual stimulus to be intimidated.

This theatre displays a "thrust" stage, which is where the audience is surrounds three sides of the stage and the remaining side creating a background for the scenes. This creates a further intensity to the theatre which is provoked by the interaction of the audience with the actors, also somewhat making the audience feel as if they are a part of the production itself. In this particular theatre, you can clearly see there are different levels for further audience seating. This theatre is quite open and grande considering the stage is suffocated by peering eyes surrounding it.

Proscenium stage: This is the traditional style of stage most are common with where the audience sits infront of the stage looking onwards in the same direction, as if looking through a picture frame. This is the same layout as a cinema.

In grander scale proscenium theatres there is an upstairs balcony to the audience area overlooking the play from above.

Here you can see a Proscenium style theatre from the balcony view, overlooking the elegant stage below. The ceiling and walls are draped in architectural beauty which appears to spew out the exagerated soul of the theatre itself.

Another famous theatre which is somewhat different once again is the Shakespear Globe theatre in London. It is not visable from the picture below but this theatre is actually an open theatre, with an almost 360 degree audience seating area surrounding the stage.  

In this image however you can clearly see the open roof to the theatre, with the audence onlooking a production of "The Swan".

I guess one could call this a panoramic theatre, yet as it uses its original style for puting on plays it appeals to the more imaginative onlooker keen on the simplistic art of story telling without means of additional modern effects. In some senses a theatre like this would be similar to that of the large arena style theatres in Greece.

Here is a video showing a clip of "Romeo and Juliet" being played by the Royal Shakespeare Company. The use of the stage, the surroundings, the backdrop and the seated audience plus their reactions is all good research towards the enviroment of my animation. Also notice the small cast used to express the story, two male actors are used to help portray the tale by playing all the Characters themselfs plus the addition of a narrator. This could be helpful for my animation, as I can focus on less additional characters that I may not need to be able to successfully tell my story effectively.

I shall upload more cartoon style images of theatres and my characters placed within it over the next few days. Any additional ideas to throw my way will be handy!

Chris

Toon talk! 1) Salad fingers!

I thought id run a small series of reviews overlooking different animations which could provide usefull to me within this project. Whether the Animations show good use of specific techniques or influential story telling for my own work, observing other strange Cartoon inventions will broaden the logic for what I should and shouldn't do.

Salad fingers

The first Animation I am going to discuss will be the disturbing, yet somehow amusing tales of the character "Salad fingers". This strange character concept comes from a man named David Firth, known for a large list of small animated series broadcast online.

I shall discuss one episode in particular, this being entitled "Shore leave". This short animation is graphic and reaches into the psyche of the viewer, you feel somewhat alone even if watching with other participants. There is a strong unease created around the "story" depicted throughout the Salad fingers series: each tale is random and constantly steps away from its original direction. This really shows the schizophrenic mindset of the character "Salad fingers" and keeps you on edge to try to figure out what is going to happen next. There are tension builders in places, where you can tell what is going to happen next. In effect, these moments can become very uncanny and some people may find it difficult to continue viewing due to a sense of unease.

In "Shore leave" we see Salad fingers come across the rotting remains of a man who he claims to be his long lost Brother from the War. Seemingly unaware (or not, being the key to the disturbance in this episode) of his "Brother" being a corpse, he drags him in for tea. Salad fingers is a very lonely character, in some senses it appears that his solitude has created his madness, in another way we see in other episodes how scared of other living beings he really is. The only beings he communicates with are either dead, self perceived fictional characters or a little girl who he has a picnic with. The only other living characters asides from the girl we see in the series are presumably male in gender, one of which appears to feel some form of love towards Salad fingers, trapping him in a cage yet still Salad finding a way to escape. Salad appears playfull with characters that resemble children, or flirtatious with the dead, thus creating the depressing notion that this is the only way he can feel comfortable communicating with another being.

Salad fingers enjoys his meal with his long lost Brother from the War, who he has missed dearly and proclaims his jealousy as to why they left him behind on his own. In many respects, through the madness of this Cartoon many moral statements are to be found. This goes to show you can have a storyline, be as quirky as you like, yet underneath confide a deep meaningful storyline which makes you read between the lines to understand. All within a short animation, many statements are layed out before the audience, in some respects I feel that people dont understand why they find this animation so uncanny, yet it may be because it relates to them more than they realise.

In an animation point of view, this is built up in a similar way to that of the traditional animatic. There is text helping to exagerate the diologue in the story, helping you to "feel" what Salad fingers is saying more. In respect this also creates the film to be more creepy, as if something sinister is mentioned you may also see it in the font colour, a small almost subliminal change which changes the atmosphere in an instant. There are arrows used, strong appliance of lines being used to force the concept of movement or intensity. There is different camera angles used, frequent use of close ups to show a characters expression. The animation itself gives more of an illusion of movement in a sense as there is less real animation going on than first thought. Pans, zooms, flashing transitions and effects, repeated scenes are all used to save development time.

Its one of those things thats creepy when you first see it, or if you dont understand it. Afterwards you actually feel quite sorry for Salad fingers when you start understanding his Character more. However the way it is created gives strong ideas for how I could design my own Animated short.

Watch "Shore leave" here.

Chris

Food for thought - incorporating humour in the Bakers appearance

I thought I better add quickly, that the Baker I am creating, who becomes the "Hero" if you like of the story, should also help be at the end of most of the jokes. So in a sense he should feel like a failed hero, he appears so pathetic that you feel sorry for him yet still laugh at the same instance.

Therefore! My brainwave is that the Baker should be a really small chap. Thats right, his Cakes should be almost as big as him, or at least big enough for him to have a struggle to pull around. This creates further rooms to expand the storys final scene and push the jokes farther. If the Baker is small, not only is it funny to watch him carry out the actions made for him in the storyline, but also he would probably have a funnier voice.

Small guy - making cakes as big as him
Small guy - working out
Small guy - trying to be the hero and ending up looking stupid somehow

The relationship between "small" and the above actions which are incorporated within the story seem to emulate a natrual kind of humour. This should benifit both the story and the character himself, and furthermore merge them both together so the setting and the character make better sense out of one another.

I'll post some sketches up later showing how this could work and be funny.

Chris

Rough Character design - Baker idea

As you may have noticed my story seems to be becoming themed around the Baker being the main Character of the Animation, therefore already he is appearing in my head as I tell the story I am conjuring up.

Here you can see I drew several different faces for my Baker Character, trying to decide on what facial expressions and sizes should best portray his personality. I decided that a rather fat face with a dopey, confused expression works best.

So here he is, the first manifestation of probably many to come. However, I do think that his appearance is onto a winner here, just needs a few tweaks and as the story progresses more I can create the Characters appearance for different parts of his performance. I will be able to show his different expressions and appearances, depending on whether he wears the same attire throughout or if some part of him changes. For example, what hairstyle would he have if his hat fell off?

Animatics research

Looking into the world of Animatics ive found one guy who produces great cartoony, comedic animatic shorts. The Animator is called Paul Daviz, a cartoonist, illustrator, animator and writer.  His company is called Davis Cartoons. For anyone interested in the more wacky Tom and Jerry meets Spongebob style visualisations, then please check this link out!

http://www.animatics.co.uk/dog/showreel.html

Ideas from two stickmen stories!

I think the first of my stories has more ground to work from, yet I feel there are gags or "moments" in the second which I can take from. The start of the first storyboard doesnt make much logical sense so I have decided the following captions:

1) The Baker proudly has made cakes for the theatre, which he then finds being thrown around in a custard pie style fight on stage.

2) He becomes angry, thus "trains" himself up ready to save the remaining cakes. This is where we see the barbell!

3) FINAL SCENE... I must work something out for how the Baker saves the cakes... but its gota be funny and have a good sense of closure!

This "workout" scene should be similar to that from the Rocky films, cheesy and a bad attempt at being serious and epic. Heres some videos with clear examples of what I mean!

Remember, no pain no gain! and my Baker wants his Cakes back!

Where to go with this now is my next problem but I shall post more blogs showing my workings towards the final scene, how to incorporate jokes into it and how to close it with a good ending.

Storyboard ideas 2 - using stickmen

Again using the simplistic style of the stickman I am showing another comedic storyline which I thought to be a strong contender amongst the sea if ideas in my head. Needless to say now I know I probably wont be using this, however I will take elements from it.

1) Scene starts out with a Baker in his shop, calmly whistling away to himself with soothing lounge music in the background.

The scene then cutts to outside the shop, with a head of the second character, a weightlifter, looking in towards the window.

2)  The door to the Bakery slams open with the Weightlifter standing there relentlessly staring in. The weightlifter threatens the Baker and eats all the Cakes in the shop. The Weightlifter holds the Baker up by his neck and threatens him with his Barbell. The Baker then farts, and the weighter is sick at the smell. He regurgitate the Cakes back up all over the shop.

3) Finally the door opens one last time to reveal a new character standing there bemused at the mess... "what happened here?" he states. The scene zooms out to reveal it is actually an audition for a part in a production at a theatre... "OMG DID I GET THE PART? DID I REALLY? HUH HUH?" states the "baker"...

Animation storyboard ideas 1... using stickmen!

I have decided to draw up my story ideas using rough images, otherwise known as the classic "stickmen" style of drawing. This isnt to say I cant draw my Characters in detail, its just so I speed the thought process up and get more ideas at a quicker pace.

I APPOLOGIESE FOR THE QUALITY OF THE IMAGES IM ABOUT TO USE BUT I HAD TO USE A CAMERA AS MY SCANNER DOESNT WORK.

First story is based on a greedy Baker who goes in search of Cakes around a Theatre, hoping to find some left over that the Actors havent eaten in their dressing rooms... little does he know hes wandered too far and ended up on the stage... heres the story!

1) The greedy Baker is sniffing around for Cakes and other Baked goods left behind by the Actors and such... again somewhat a random concept due to it being in "Cartoon land".

2) The greedy baker continues his quest and comes across a Barbell in the proccess.

3) The greedy Bakers expression suddenly changes as he "feels" something isnt quite right, as if hes been caught out. He looks up, expression changing to "Oh sh*t"... he realises hes standing infront of an audience at the theatre, hes walked onto stage without realising it. Theres a typical "tumbleweed" moment. 

                                      

4) The audience become impatient thinking the Baker is one of the acts and tell him to hurry up. He decides to try and lift the Barbell... but he comes to find its far too heavy for him to lift. He gets an idea... if he replaces the weights with Cakes then he can lift the Barbell.

5) The Baker then lifts the Barbell above his head and in a close up of his face you see a change in expression from victorious to strained and worried. The shot zooms out to reveal two people either side of the Barbell eating the Cake, held on by their mouths. As the Barbell is heavy once again they all crash through the floor. Scene end!